This concise anthology of primary sources designed for use in an ancient philosophy survey ranges from the Presocratics to Plato, Aristotle, the Hellenistic philosophers, and the Neoplatonists. The Second Edition features an amplified selection of Presocratic fragments in newly revised translations by Richard D. McKirahan. Also included is an expansion of the Hellenistic unit, featuring new selections from Lucretius and Sextus Empiricus as well as a new translation, by Peter J. Anderson, of most of Seneca’s De Providentia. The selections from Plotinus have also been expanded.

Including a new section on evaluation accountability, this Third Edition details 30 standards which give advice to those interested in planning, implementing and using program evaluations.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.

Dear Black Girls is a letter to all Black girls. Every day poet and educator Shanice Nicole is reminded of how special Black girls are and of how lucky she is to be one. Illustrations by Kezna Dalz support the book's message that no two Black girls are the same but they are all special--that to be a Black girl is a true gift. In this celebratory poem, Kezna and Shanice remind young readers that despite differences, they all deserve to be loved just the way they are.